Menu

Jesuit

[…] Let me quickly get to the point: it is often stated by historians of art and architecture that the Piazza St. Peter’s at the Vatican was designed to represent “the open arms of Mother Church.” This, in fact, is indeed claimed by Gian Lorenzo Bernini himself, the architect responsible for the design.

We believe it to be a truth, but not the whole truth. Truth often comes in many layers. Revealing only one layer yet dissimulating another will make this partial truth seem to be something very different indeed. This is why today a person on the stand in a court of law will be sworn in to tell not only the truth, but rather the whole truth. We believe that there is another, far more important layer in which rests the whole truth behind Bernini’s grandiose design. This whole truth he, nonetheless, took to his grave, for it was such an unspeakable truth, such a taboo, such a forbidden fruit in his time that the mere mention of it might have brought down the whole edifice of Mother Church— that is to say, the Vatican itself. Yet the amazing daringness of Bernini’s ploy was to hide the truth in plain sight for all to see. Indeed, so well did he do this that everyone who looked—and there have been millions since—did not see it all.

And when finally some did see it, so outrageous, so fantastic was its implication that they simply preferred to dismiss it as mere coincidence.

Bernini clearly intended it to be a sort of intellectual time bomb meant to be detonated not in his time but when the time was right, when its revelation would not bring down the Vatican, but do, instead, the opposite. To fully appreciate the magnitude of this revelation, and to make our case worthy of the most serious consideration, we had to undertake a chase across nearly two millennia of history, from Greco-Roman Alexandria to Renaissance Rome, sometimes moving at breakneck speed, making Dan Brown’s Angels & Demons seem like a Sunday stroll in the park. It was a thrilling undertaking and, most of all, an amazing eye-opener. No matter what one may think of it, one thing is certain: Christianity and Western culture will never seem the same again.

Zicari & Bauval at Piazza St Peter’s

But enough said. The die is cast. You have the evidence in your hands. No need to tarry.

Detail of the Uroboros on the Obelisk designed by jesuit priest Athanasius Kircher for queen Christina of Sweden (1626-1689) in 1654. “Great Christina, Isis Reborn, erects, delivers and consecrates this obelisk on which the secret marks of Egypt are inscribed.”(‘Visconti’ College’s museum in Rome – Jesuit Collegium Romanum before).

In October 1633 the German Jesuit scholar and Egyptologist Athanasius Kircher, now aged thirty-two, arrived in Rome. Soon after his arrival in Rome, Kircher joined the famous Collegio Romano as a teacher of mathematics, astronomy, and Hebrew. Kircher would become a close friend of Bernini and would collaborate with him on some architectural projects, including a fountain in Piazza Navona involving ancient Egyptian obelisks.

Christina, in 1654, would shock the whole of Protestant Europe by converting to Catholicism, then abdicating and going to Rome to live under the protection of Pope Alexander VII. Christina was a living encyclopedia and, to occult-minded scholars such as Kircher, an incarnation of ‘Divina Sapienza’ (Divine Wisdom). Christina is one of the only two women to be buried in St. Peter’s Basilica at the Vatican.

(From “The Vatican Heresy – Bernini and the Building of the Hermetic Temple of the Sun”, 2014)